David Marchese

Why does that feel more fitting or more comfortable to you?

The personal remoteness you described, I was wondering how that might actually benefit your performances sometimes.

Because when I think of some of my favorite performances that you've given, I'm thinking of things like Remains of the Day or 84 Charing Cross Road, The Father, even on some level Silence of the Lambs or Shadowlands has this too.

I feel like there is sort of an emotional remoteness to some of those characters.

And I wonder if that's something...

that is just sort of like a fingerprint, maybe, or a signature of a good Anthony Hopkins performance?

Or is that an intentional performing strategy?

It compels you to watch.

There's another epiphany that I'd like to go back to, if you don't mind.

This is another one you describe in the book.

You were driving...

in Los Angeles in, I think, the late 70s.

Yeah.

And you felt a pull to go over to a Catholic church.

And you went inside and you told a young priest there that you had found God.

Now, I get the sense that you're not, you know, going to church every Sunday or sort of praying in a conventional way.

So what is God to you?

If you're getting nearer to the big goodbye, do you take any pride or draw any meaning or take any solace from what you leave behind, both as a person and as an artist?

It's a fairly brusque voice.

You're not so hot.